Kyle Mooney’s ‘Y2K’ Becomes “Whole Different Movie” After This Kill

SPOILER ALERT: This post grasps details about Y2K.

Kyle Mooney is partying appreciate its 1999 with the liberate of his honestorial debut Y2K, a nostalgic horror comedy that applys on a understandn accessible hysteria 25 years tardyr.

The Saturday Night Live alum, who honested and co-wrote the A24 film with Evan Winter, telderly Deadline that the coming-of-age story becomes a “whole contrastent movie” after the unpredictedly heartfelt death scene of Julian Dennison‘s Danny.

“I felt appreciate we knew it was coming, and it was fascinating, becaemploy we sboiling pretty much chronoreasonablely, and so we were making this whole contrastent movie,” elucidateed Mooney of the film, which is now in theaters.

Set on New Year’s Eve in 1999, Y2K chases best friends Eli (Jaeden Marincreate) and Danny as they ring in the new millennium at a hoemploy party, where electronics come to life after the stroke of midnight and go on a ending spree.

After closing out the year as the life of the party, Danny ends up dying in Eli’s arms, shifting the entire tone of the calamity film, which envisions an alternate world in which the “Year 2000 problem” was authentic.

“It was essentipartner these two guys in a coming-of-age high school film, and I leank everybody knew at some point, we’re gonna have to do that scene,” Mooney inserted. “And we tried to be increateed of making it as sootheable for these guys as possible and benevolent of ponderate about the transition from one world to the next. But for me, speaking for myself being on the other side of the screen, it’s fair made so much easier by these two guys who are transporting such getestness and truthfuly.”

Dennison felt the presbrave to get the scene right, consenting that Danny’s death was “benevolent of that gateway into that world” where the movie apshows on more horror elements.

“I leank even while we were shooting that, we could benevolent of experience what the scene was and how transport inant it was,” he elucidateed. “There was appreciate this mutual esteem, and we could benevolent of understand each other during it. There wasn’t need for a lot of words, but it’s fair benevolent of a experienceing.”

And although Dennison and Marincreate were both born after 2000, they finishelighted slipping into the “conciseage of convenience and the conciseage of technology” that came with the era. “I desire I got to experience that. I desire I didn’t dwell in the age of everyleang being so accessible,” shelp Marincreate.

From battle rap to Fred Durst‘s cameo and Myspace creator Tom Anderson’s overweighte, read the brimming intersee with Y2K co-producer/honestor Kyle Mooney and stars Jaeden Marincreate and Julian Dennison.

DEADLINE: Tell me about mining all that Y2K nostalgia. Was there anyleang from your youth that you fair had to participate in the movie? 

KYLE MOONEY: I wrote it with my friend Evan, he grew up in Eugene, Oregon. I’m from San Diego, California. So we sort of had split dwells but the same ambiguous references. So, the writing process was repartner fun, fair being appreciate, “Do you recall this?” “Oh, yeah, that was a excellent show” or “I appreciate this song.” Everyleang that’s in there is someleang that was probable nastyingful to me or to him or to both of us in some way. And I was mainly psyched in the process in appreciate pre-pro, we were doing a lot of watching YouTube videos of video yearbooks and stuff appreciate that. And I cherish taking screen grabs of what people were wearing. There’s one leang that we labored in that I don’t leank will be nastyingful to anybody. But there was a moment in time where all of the girls in my school were wearing overalls and a white shirt undertidyh. And so we got that in the movie, and that’s all I could ask for. 

DEADLINE: Jaeden and Julian, I can’t apshow you guys weren’t even adwell at that time. Was there anyleang from that era that you desire you could have teachd after making this movie? 

JULIAN DENNISON: Yeah, my elderlyer brother was repartner into battle rap and repartner into underground rap. And being from New Zealand, we benevolent of also got everyleang appreciate 10 years tardyr. So, it was benevolent of appreciate I did increase up and benevolent of experience that thraw him. But I leank, appreciate the characters CJ (Daniel Zolghadri) and Farkas (Eduardo Franco), fair to see those people in authentic life and to participate with them would have been pretty, pretty celderly. 

JAEDEN MARTELL: I leank it would be the conciseage of convenience and the conciseage of technology. I desire I got to experience that. I desire I didn’t dwell in the age of everyleang being so accessible. I nasty, you can abstain from leangs, which is why it’s here, to test us as new people in the new generation. But yeah, technology, conciseage of it. 

DEADLINE: I experience you there. The movie experiences appreciate such a fun stoner comedy horror for excellent chunk of it. But then that’s what made Danny’s death scene so heartfractureing. What was it appreciate filming that for you guys? 

MOONEY: I felt appreciate we knew it was coming, and it was fascinating, becaemploy we sboiling pretty much chronoreasonablely, and so we were making this whole contrastent movie. It was essentipartner these two guys in a coming-of-age high school film, and I leank everybody knew at some point, we’re gonna have to do that scene. And we tried to be increateed of making it as sootheable for these guys as possible and benevolent of ponderate about the transition from one world to the next. But for me, speaking for myself being on the other side of the screen, it’s fair made so much easier by these two guys who are transporting such getestness and truthfuly, becaemploy the carry outance felt incredibly authentic, and there wasn’t a lot we had to do. I leank they knew what their job was, and they did it. 

DENNISON: Yeah, I leank that scene repartner pivots the film and you go from watching one film and then you benevolent of are conveyed into this new world. And it was repartner transport inant for me that, if Danny is seen as benevolent of that gateway into that world, to produce it repartner excellent. And I leank I was repartner consecrateed and blessed to labor with people appreciate Jaeden. I leank even while we were shooting that, we could benevolent of experience what the scene was and how transport inant it was. There was appreciate this mutual esteem ,and we could benevolent of understand each other during it. There wasn’t need for a lot of words, but it’s fair benevolent of a experienceing. It was fantastic becaemploy that whole begin of that film was pretty crazy, it’s pretty comical and pretty inlogical. And then all of a sudden, you switch and it’s appreciate, how do you do that? With other fantastic actors and actresses.

DEADLINE: Kyle, what was it appreciate honesting your own death scene, especipartner a beheading appreciate that? That was so untamed. 

MOONEY: I nasty, there were so many people on set, helping out. We had my partner Evan, who I wrote it with, and then Bill Pope shooting it and all of the other artisans. So, I had people seeing out for me for brave. I cherish that sort of leang. I leank there’s a line I have to say after I get my arm chopped off, I say someleang appreciate, “I don’t understand if I appreciate this” or someleang appreciate that, and I recall doing however many, seven apshows of that, and fair being appreciate to the script supervisor, “Did I get it? How did I do? Did I get it?” So, it’s always fascinating to go from laboring behind the camera to coming back in front of the camera and the vulnerabilities and being reminded, oh yeah, it’s not effortless being an actor sometimes becaemploy you repartner begin to ask how you’re doing. 

DENNISON: It’s amazeive though, I recall shooting that scene in the DVD store. Just watching you, I was very amazeed becaemploy that scene was very complicated actupartner, with the camera shiftments and smoking. There was a lot of leangs going on. 

MOONEY: I cherish to mess around. 

MARTELL: Yeah. And having your head on set was a lot of fun for everyone.

DEADLINE: Did you get to protect the prop head? 

MOONEY: I leank Louie has it, who is our distinctive effects produceup artist, who labors at Saturday Night Live. Yeah, he has it. Maybe someday, I can borrow it.

DEADLINE: What was it appreciate shooting with Fred Durst and getting him to produce a cameo? 

MOONEY: I nasty, rad. He was so awesome. We pitched him as an idea at the very commencening when we begined talking about this movie … But I leank we fair felt appreciate he was always the person we wanted. We were so consecrateed to get him, and then when he came on set and we set up out, oh s—, he’s actupartner very, very excellent and better than we envisiond. It fair felt appreciate one of those leangs where, okay, leangs are coming together in a way that experiences very distinctive. 

DEADLINE: In that last scene, was there any significance to the 2005 time jump? Becaemploy you refered some of the technology of that time appreciate Myspace and wdisappreciatever else they were using. But was there anyleang particular about that year?

MOONEY: That might be a ask that I would have to confer my co-producer on. It was five years tardyr and I leank we wanted to set up where these guys were, benevolent of at the end of college and sort of… yeah, I’m trying to leank of why we landed particularpartner. I leank it was mainly the college leang and fair giving it a coda and benevolent of verifying in with these characters to see also how the world has growd, which I leank applys out. But yeah, I don’t understand. I guess, I don’t understand why we didn’t pick four years tardyr if that’s what your ask is. 

DEADLINE: I was fair asking becaemploy the fact that Myspace still exists made me leank Y2K didn’t toloftyy mess up the world in this film’s universe.

MOONEY: Oh yeah, Tom persistd.